Born and raised in the outskirts of Bologna (Granarolo), Mr. Drey was, (and it's a pity when this is not remembered), an enfant prodige of the teen punk scene (with No Hope) and with the ska/reggae/high school rocksteady (Urka, Explanation of Palmas). The notoriety of these bands brought him no lucky occasions nor any good. Gradually isolating himself from the musical scenes of the time (due to continuous inevitable and urgent approaches to the revolutionary theory), he became uninterested in the musical production until the fortuitous listening (on night-time local radio stations) to avangarde sounds, appreciated especially for their hypnotic power. This led him to the first autonomous composition experiments, resulting in various half hour simil-ambient composition cassettes of which no one will ever know anything about.
One of these is another young granarolese outsider, Mattia (now the owner of Niggaville), with whom home recordings are started to pass the time, and which will introduce him to one of the first formations of SLP, period which he practically doesn't remember at all. After having again disappeared due to trying to live as Theodore Kaczynski, he accidentally resumes touch with SLP and begins rehearsing with them at the XM24 test room. There will also be a parallel and brief (but magical) intermission with Dadatzara Kamagauna ( together with the already known Mattia and with Davide, the current SLP bass player). SLP will move ever so fast towards the making of Studio Album, which will see him engaged behind the skins. But a little after this seminal recording, he again slowly disappears (together with Derek Dick Decio) to try to live as William Burroughs. Discouraged and semi-isolated he again begins working on his own material and discovers the use of the laptop and of Audacity, which will bring him to sporadic and expected imitations of Christian Fennesz. Resuming touch with SLP he doesn't fortify his position in the band rather an alliance on higher theoretical positions almost never openly expressed. He no longer plays with SLP but he collaborates and his on friendly terms with them. He produces Derek Dick Decio's first disc and is part of Achievements.
He likes melody, the beautiful one (or the stretched one) and only operates in this view. He would like to be like Fennesz and Tarentel together, but at the end he makes music only to learn how to better use the softwares and to be able to delete the pieces when he no longer likes them, that is after little time.

Born and raised in the outskirts of Bologna (Granarolo), Mr. Drey was, (and it's a pity when this is not remembered), an enfant prodige of the teen punk scene (with No Hope) and with the ska/reggae/high school rocksteady (Urka, Explanation of Palmas). The notoriety of these bands brought him no lucky occasions nor any good. Gradually isolating himself from the musical scenes of the time (due to continuous inevitable and urgent approaches to the revolutionary theory), he became uninterested in the musical production until the fortuitous listening (on night-time local radio stations) to avangarde sounds, appreciated especially for their hypnotic power. This led him to the first autonomous composition experiments, resulting in various half hour simil-ambient composition cassettes of which no one will ever know anything about.
One of these is another young granarolese outsider, Mattia (now the owner of Niggaville), with whom home recordings are started to pass the time, and which will introduce him to one of the first formations of SLP, period which he practically doesn't remember at all. After having again disappeared due to trying to live as Theodore Kaczynski, he accidentally resumes touch with SLP and begins rehearsing with them at the XM24 test room. There will also be a parallel and brief (but magical) intermission with Dadatzara Kamagauna ( together with the already known Mattia and with Davide, the current SLP bass player). SLP will move ever so fast towards the making of Studio Album, which will see him engaged behind the skins. But a little after this seminal recording, he again slowly disappears (together with Derek Dick Decio) to try to live as William Burroughs. Discouraged and semi-isolated he again begins working on his own material and discovers the use of the laptop and of Audacity, which will bring him to sporadic and expected imitations of Christian Fennesz. Resuming touch with SLP he doesn't fortify his position in the band rather an alliance on higher theoretical positions almost never openly expressed. He no longer plays with SLP but he collaborates and his on friendly terms with them. He produces Derek Dick Decio's first disc and is part of Achievements.
He likes melody, the beautiful one (or the stretched one) and only operates in this view. He would like to be like Fennesz and Tarentel together, but at the end he makes music only to learn how to better use the softwares and to be able to delete the pieces when he no longer likes them, that is after little time.